DOI issue:
No. 39 (June, 1896)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.17297#0061
Studio- Talk
There can be no hesitation as to the
verdict which must be pronounced to-day
upon this display. It is this : During
the past seventy years, and particularly
in the second half of the century, etching
has added one of the most brilliant, one
of the most glorious chapters, not only to
the history of French art but to the
universal history of engraving."
M. Beraldi is fully justified in writing
thus, for here we have a real exhibition
of works of art far more remarkable, far
more worthy of lasting praise, than the
majority of the paintings displayed in the
vast galleries of the Champ de Mars and
the Champs-Elyse'es. Less pretentious,
of course, this engravers' work, and ap-
pealing less strongly to the public; but,
on the other hand, how much higher and
nobler and more artistic. There is really
nothing more instructive, either from a
historical or from a purely artistic point
of view, than exhibitions such as these,
devoted to some particular process, as, for
instance, the beautiful display of litho-
graphy last year.
ROUEN' CATHEDRAL BY T. M. ROOKE, A.R.W.S.
Side by side with Decamps and Dela-
croix, Daumier and Ingres, Hervier and
Tony Johannot — all the lights of the
romantic school—are splendid specimens
of the art of Desboutin, Manet, Millet,
Bracquemond, Waltner, Renouard, Le
of records will become very valuable in time, as Couteux, and Jacquemart. Not a single engraver
the old buildings and pictures chosen for repro- of importance but is represented here, and repre-
duction are yearly becoming more damaged and sented by striking work. Celestin Nanteuil rubs
dilapidated. shoulders with Helleu, Paul Huet with Lepere,
Chasserian with Jules de Goncourt, Charles Jacque
PARIS.—One of the most interesting art with A. Rodin. And these are by no means all.
displays this spring—apart, of course, Here are more names that must not be omitted :
from the two Salons which are attract- James Tissot, Edmond Yon, Lhermitte, Le Rat,
ing every one's attention just now—is Leloir, Gustave Dore, Laguillermie, Fernand
the National Exhibition of Modern Desmoulin, Eugene Abot, Bastien-Lepage, Meis-
Etching recently opened at the School of Fine sonnier, Karl Bodmer, Henri Boutet, Michel
Arts. Cazin, Champollion, Th. Rousseau, Gavarni,
Rajon, Monzies, Hedouin, and Louis Legrand;
" This Exhibition," remarks M. Hei.ri Beraldi, and even now I have left many unmentioned.
the well-known bibliophile, in the striking preface -
with which he opens the catalogue, "this Exhibition The "Exposition Internationale du Livre Mo-
displays before us the work of half a century—an derne " opened at the " Art Nouveau " galleries
unparalleled achievement! The Ecole des Beaux- early in the month, though too late unfortunately to
Arts is filled with masterpieces ; and even now the give one an opportunity of discussing it now. I may
collection is not quite complete, though nearly so. say at once, however, that this interesting experi-
46
There can be no hesitation as to the
verdict which must be pronounced to-day
upon this display. It is this : During
the past seventy years, and particularly
in the second half of the century, etching
has added one of the most brilliant, one
of the most glorious chapters, not only to
the history of French art but to the
universal history of engraving."
M. Beraldi is fully justified in writing
thus, for here we have a real exhibition
of works of art far more remarkable, far
more worthy of lasting praise, than the
majority of the paintings displayed in the
vast galleries of the Champ de Mars and
the Champs-Elyse'es. Less pretentious,
of course, this engravers' work, and ap-
pealing less strongly to the public; but,
on the other hand, how much higher and
nobler and more artistic. There is really
nothing more instructive, either from a
historical or from a purely artistic point
of view, than exhibitions such as these,
devoted to some particular process, as, for
instance, the beautiful display of litho-
graphy last year.
ROUEN' CATHEDRAL BY T. M. ROOKE, A.R.W.S.
Side by side with Decamps and Dela-
croix, Daumier and Ingres, Hervier and
Tony Johannot — all the lights of the
romantic school—are splendid specimens
of the art of Desboutin, Manet, Millet,
Bracquemond, Waltner, Renouard, Le
of records will become very valuable in time, as Couteux, and Jacquemart. Not a single engraver
the old buildings and pictures chosen for repro- of importance but is represented here, and repre-
duction are yearly becoming more damaged and sented by striking work. Celestin Nanteuil rubs
dilapidated. shoulders with Helleu, Paul Huet with Lepere,
Chasserian with Jules de Goncourt, Charles Jacque
PARIS.—One of the most interesting art with A. Rodin. And these are by no means all.
displays this spring—apart, of course, Here are more names that must not be omitted :
from the two Salons which are attract- James Tissot, Edmond Yon, Lhermitte, Le Rat,
ing every one's attention just now—is Leloir, Gustave Dore, Laguillermie, Fernand
the National Exhibition of Modern Desmoulin, Eugene Abot, Bastien-Lepage, Meis-
Etching recently opened at the School of Fine sonnier, Karl Bodmer, Henri Boutet, Michel
Arts. Cazin, Champollion, Th. Rousseau, Gavarni,
Rajon, Monzies, Hedouin, and Louis Legrand;
" This Exhibition," remarks M. Hei.ri Beraldi, and even now I have left many unmentioned.
the well-known bibliophile, in the striking preface -
with which he opens the catalogue, "this Exhibition The "Exposition Internationale du Livre Mo-
displays before us the work of half a century—an derne " opened at the " Art Nouveau " galleries
unparalleled achievement! The Ecole des Beaux- early in the month, though too late unfortunately to
Arts is filled with masterpieces ; and even now the give one an opportunity of discussing it now. I may
collection is not quite complete, though nearly so. say at once, however, that this interesting experi-
46